Throwback Thursday #TBT
Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don't see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy
Death Race 2000
In a way, this film itself was a race. The premise is amazingly similar to that of the previously discussed "Rollerball", and it turns out there is a reason for that. The innovative low budget producer Roger Corman had heard about the upcoming film featuring a futuristic society, sated by the bread and circuses of a violent game, and he created his own version of that storyline. The production was rushed to take advantage of the heat that was being generated from advance publicity for "Rollerball", and it beat that film to the marketplace by a couple of months.
We quickly learn that a fascist style bipartisan government has taken over the nation after an economic collapse, and uses an annual cross country road race as a distraction from the totalitarian rule and an appeal to nationalism. Corman wrote the original treatment for the film, but it went through several other hands, as the tone became more often comic in nature. Probably a good choice considering the absurdity of the idea. Five teams of racers dash across the country, from location to location, choosing their own paths and scoring points by running over and killing pedestrians.
The movie inspired a video game that became quite controversial in the late 1970s, and it is one of the few arcade games I ever played.
I enjoyed the grave markers whenever the players successfully ran over a pedestrian in this game.
The low budget of the film is hardly a hindrance, since the design of the cars and the outlandish nature of the drivers and navigators is really where the fun is. I was actually impressed that they took shots of an actual race at Ontario Speedway and integrated it into the opening of the film. The futuristic background matte paintings may but be perfect, but they served their purpose in trying to set the world of this film, twenty-five years into the future. Most of the racing that takes place is in open spaces (largely in the SoCal Foothills), only occasionally making it into urban settings where a chance for scoring would be a lot higher.
The least convincing part of the film is the rebel group trying to either kidnap or kill the favorite driver, Frankenstein, in order to negotiate with the tyrannical "Mr. President". They dress like a bunch of sanitation workers and set up booby traps across the country in order to achieve their ends. They are led by an old woman who is a descendant of Thomas Paine, and she is just not convincing at all. The traps themselves however are some time amusing, for instance, they use a trick right out of Wile Coyote's playbook, a detour through a painting of a tunnel.
From a logical point of view, the twist with Frankenstein and the rebel group does not make much sense, but as drama it will do. The real goal of the movie is to get the drive in audiences who would eat this kind of stuff up, to show up and buy a ticket. To that end, there are several gruesome deaths featured and a bucketload of gratuitous nudity. I'm not sure why a massage room is provided for all of the drivers and their navigators, but it does help get them into nothing but a towel, and that will come off for a catfight or a love making session pretty easily.
David Carradine is the lead actor in the film, and he is most effective behind the wheel of the car he is driving. The mask he wears disguises the fact that he is not as mangled as he appears to be to the world, and when driving with his new partner, he takes off the mask frequently and smirks at her naivete or the plodding efforts of the rebels. Sylvester Stallone made this film right before "Rocky" and he was allowed to shout and chew up the scenery as Frankenstein's main rival, Machine Gun Joe Viterbo. Apparently he was allowed to write some of his own lines, and he wisely is not given credit for doing so, because the character is a one note petulant idiot.
The cars that were used were not actual racing vehicles but kit cars that were modified to look ominous, and it seems that at times they did not run properly and required a push start to get going. The racing footage is very good in the sense that we can see the whole picture, and the close up and fast cut style that is so prominent nowadays is missing. Instead we get to see the cars jockeying for position, spinning out on the road, crashing into pedestrians and generally looking like the mayhem they are supposed to be. I was impressed by the shots of the road from under the front carriage of the cars, which makes the race look faster and comes closer to putting us in the race than if it was all shot from the driver's perspective.
I know I saw this film when it came out, but I don't think it was at a drive in, rather it was in a theater on Colorado Blvd. in Pasadena, I just can't say which one it was. This would have been a summer second billed film since the L.A. release was at a bad time for me, and I would have had to catch it in a second run theater.
In an earlier post I mentioned Siskel and Ebert, and both of them gave this film terrible reviews, this was before they were appearing together on TV. I seem to remember that Kevin Thomas of the L.A. Times gave it a pretty solid review, at least for the kind of film it was, and Thomas was always one of my favorite reviewers for the Times.
This movie is complexly ridiculous but also a lot of fun, if you can overlook those things that are the usual points of contention in exploitation fare, you know, the objectification of women, the excessive violence, and the glorification of anti-heroes. It is of it's time, but then again, so am I.
